By William S. Burroughs
Auteur emblématique de l. a. Beat iteration, William Burroughs a marqué de son empreinte sulfureuse los angeles littérature américaine des années soixante. Le manuscrit du Festin nu est un tel fatras de notes éparpillées qu'aucun éditeur n'accepte de le publier, d'autant que le contenu est d'une obscénité infrequent et qu'il heurte à peu près tous les principes de bienséance. Ce n'est qu'avec l'aide de Jack Kerouac et d'Allen Ginsberg que Burroughs parviendra à en tirer une matière présentable... c'est-à-dire correctement tapée à l. a. computer, automobile pour ce qui est de los angeles clarté du propos, comme le répétait Burroughs pour expliquer sa démarche, "les mots savent où ils doivent être mieux que vous. Ils n'aiment pas être gardés en cage". L'ouvrage relève donc à bien des égards du surréalisme, tout en relatant les errances et autres visions d'un esprit sous l'emprise de maintes components hallucinogènes. Tenter d'en faire los angeles synthèse serait une entreprise vouée à l'échec. On entre dans Le Festin nu comme on pénètre en un laboratoire, sans a priori quant à l. a. finalité de l'expérience qui s'y déroule. Burroughs s'y adonne à un dérèglement systématique des sens, débouchant sur une nouvelle sémantique.
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Lessons of Romanticism: A Critical Companion. Eds. Thomas Pfau and Robert F. Gleckner. Durham: Duke UP, 1998. 41–54. Print. Schelling, Friedrich Wilhelm Joseph. Schelling. Comp. and ed. Michaela Boenke. München: Diederichs, 1995. Print. Schlegel, Friedrich. Kritische Friedrich-Schlegel-Ausgabe. Ed. Ernst Behler. 35 vols. Paderborn: Schöningh, 1958ff. [KFSA]. Print. Seyhan, Azade. Representation and Its Discontents: The Critical Legacy of German Romanticism. Berkeley: U of California P, 1992.
The Romantic Age. 1955. A History of Modern Criticism 1750–1950. Vol. 2. London: Cape, 1970. Print. 2 History and Poetry Fundamental Aspects and Effects of the Relations between Literature and Philosophy in English Romanticism Eric Dayre This chapter begins with some of the original founding expressions of Romanticism, key terms, and definitions of poetry, such as “emotion recol lected in tranquillity,” “willing suspension of disbelief,” and their origin in philosophical thought. In doing so, I refer to the philosophical tradition that is present and modified in Romantic thought.
It thus grasps the Idea not as something transcendent, but as the very process of its self-reflexive production. (27–28) Or with Marc Redfield’s of 1998: Building on the work of Walter Benjamin and Maurice Blanchot,7 Lacoue-Labarthe and Nancy analyze the philosophical structure of the idea of the literary text as a “self-conscious” text, an idea now commonplace but which emerged fully for the first time in the work of Romantic writers, as an aspect of the Romantic development or elaboration of modern aesthetics.